[Dixielandjazz] Dixielandjazz Digest, Vol 105, Issue 38 to 'snogpitch'.
Dick Karner
dickkarner at hotmail.com
Sat Sep 24 12:27:10 PDT 2011
http://www.tradjazzproductions.com would be the website for more info on the
new Turk Murphy cd release along with a cut from the cd Live at the
Wilshire-Ebell Theatre 1970.
Cheers.
Dick Karner
TradJazz Productions
-----Original Message-----
From: dixielandjazz-request at ml.islandnet.com
Sent: Saturday, September 24, 2011 3:00 PM
To: dickkarner at hotmail.com
Subject: Dixielandjazz Digest, Vol 105, Issue 38
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Today's Topics:
1. Re: Netiquette (rickz)
2. Re: Hearing Loss (Ken Mathieson)
3. Correction (Stan McDonald)
4. Re: Sweet Georgia Brown, historical comparisons (Jack Mitchell)
5. R.I.P. Frank Driggs (Robert Ringwald)
6. Cyd Charisse with Stan Kenton Soundie (Robert Ringwald)
7. Re: Advanced cd sale! (Snogpitch)
8. R I P Phil Stiers (david richoux)
9. R.I.P. Dolores Reade Hope (Robert Ringwald)
10. Dave Bennett this week on Riverwalk Jazz (Donald Mopsick)
11. Re: Another laughing record (Roy (Bud) Taylor)
12. Re: R I P Phil Stiers (Don Robertson)
----------------------------------------------------------------------
Message: 1
Date: Fri, 23 Sep 2011 13:59:32 -0600
From: rickz <rickz at usermail.com>
To: dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Netiquette
Message-ID: <4E7CE524.7000702 at usermail.com>
Content-Type: text/plain; charset=windows-1252; format=flowed
Those are called "Tails" Long tails are particularlly vexing on a list!!
Enuf stuff to identify the context of the reply, huh?
Rick
On 9/23/2011 10:15 AM, david richoux wrote:
> I have been using Google GMail for a few years now - one of the
> problems with this service is that there is no setting to
> automatically stop auto-quote! They (Google) seem to think is just OK
> to not display the old material in an incoming message unless I click
> a button, but it is all there...
>
> Manually deleting the old stuff is the only way to do it - Bah Humbug!
>
> Dave Richoux
>
> On Fri, Sep 23, 2011 at 1:30 AM, Eric Holroyd<eholroyd at optusnet.com.au>
> wrote:
>
>> I?ve finally decided not to answer ANYONE who emails me and includes ALL
>> of my own email in their reply.
>
------------------------------
Message: 2
Date: Fri, 23 Sep 2011 22:07:03 +0100
From: "Ken Mathieson" <ken at kenmath.free-online.co.uk>
To: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>,
<climax at idirect.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Hearing Loss
Message-ID: <009301cc7a34$bf21e760$4001a8c0 at amd2500>
Content-Type: text/plain; charset="iso-8859-1"
Hi Jack et al,
You're right about cymbals and their effect on hearing if you get too close.
About 20 years ago I played drums on some gigs in Scotland with Buddy de
Franco on a big stage in a big hall. He was very particular about where he
stood in relation to the kit and at the rehearsal asked to hear the 2 ride
cymbals. He then stood about 8 feet away on the opposite side from the
brighter sounding cymbal. He explained that he had suffered tinnitus many
years before while playing in a quartet with Art Blakey in a small club in
NYC. He had no idea what was causing the problem, but it was affecting not
just his ability to hear, but also his ability to pitch accurately. He was
put in touch with an Ear, Nose & Thraot specialist who was a jazz fan and a
occasional attender at the club. This doc was delighted to meet Buddy and
asked him who he was working with and where. When Buddy said "Art Blakey",
the doc said "there's your problem right there; just stand as far away as
you can from Art and things will gradually get better!"
Cheers,
Ken Mathieson
------------------------------
Message: 3
Date: Fri, 23 Sep 2011 17:16:07 -0400
From: "Stan McDonald" <stanmm at comcast.net>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Correction
Message-ID: <0520E5185B80408A908536EC3222B608 at STAN>
Content-Type: text/plain; charset="iso-8859-1"
In my submission on the passing of my friend and devout traditional jazz
enthusiast, Milton Page, I apologize for misspelling the header. It should
have been demise.
------------------------------
Message: 4
Date: Sat, 24 Sep 2011 10:20:59 +1000
From: "Jack Mitchell" <fjmitch at westnet.com.au>
To: "Ulf Jagfors" <ulf.jagfors at telia.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Sweet Georgia Brown, historical
comparisons
Message-ID: <D2C3CDB517864663988A762712CFE81C at jackm>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=original
----- Original Message -----
From: "Ulf Jagfors" <ulf.jagfors at telia.com>
To: "Jack Mitchell" <fjmitch at westnet.com.au>
Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
Sent: Friday, September 23, 2011 11:18 PM
Subject: [Dixielandjazz] Sweet Georgia Brown, historical comparisons
OK Ken
I fully agree with you. I just sent the link to get an historical view of
the tune, especially as it was performed by the 1/3 composer himself. To
stand in front of the band conducting??, often with a fiddle, was more or
less a must. During the past year I have been scanning the Spotify library
for many thousands of 1920 jazz and dance band tunes. By that I also come to
realize how little "jazz" it is in many of the bands playing during the
roaring twenty. They were as you say pure dance bands, specially asked not
to "hot" the music, or rooted in the stiff rhythm ragtime tradition. In the
book "The making of Jazz" by James Lincoln Collier, the author stress many
times that most of the white but also some black bands did not really got
the "jazz" idiom until the end of the 1920?s. For instance he mention that
Duke Ellington with his academic, middle class, classic music background did
not catch the jazz spirit until he hired some NOLA players in his band.
Right or not, if you listen to early 1920 Ellington recordings or I.E
Fletcher Andersson you understand what Collier is pointing at. I guess this
is a thread of its own right but I do not want to start it because I know
too little about this intricate musical part of the jazz history.
If you want to make a more true and close historical comparison between the
Marsalis version and the past I guess Hot Club de France 1930?s recording is
the best example.
http://www.youtube.com/watch?v=mpO5xIltlyU
Ulf Jagfors
Stockholm
From: Ken Mathieson [mailto:ken at kenmath.free-online.co.uk]
Hi Ulf,
Thanks for the clip, which I found interesting for a number of reasons: It's
clear that this band had never listened to anything by Louis Armstrong or,
for that matter, Bix. Both were well represented on record by the time this
was recorded and both were being widely talked about by the jazz musicians
of the time, so my suspicion is that this was strictly a dance band with the
odd soloist who had a passing knowledge of improvisation. The bandleader's
movements are also a bit of a give-away: he looks as though he might be
conduvcting a polka band! The band's phrasing is ponderous and "lumpy", and
none of it swung in the slightest to my ears. However, I had never heard the
verse to SGB before and it turns out to be the perfect curtain-raiser to the
tune proper.
I'm glad I saw and heard it for historical reasons as I'm interested in the
history of jazz, but I'll have to be honest and say that I much preferred
the version with Wynton Marsalis, which had the benefit oif swinging from
beginning to end.
Regards,
Ken Mathieson
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------------------------------
Message: 5
Date: Fri, 23 Sep 2011 19:45:07 -0700
From: "Robert Ringwald" <rsr at ringwald.com>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] R.I.P. Frank Driggs
Message-ID: <BD6595632D844E898E75D6498EDDCC62 at hplap>
Content-Type: text/plain; charset="iso-8859-1"
When forwarding any email, please use "Netiquette." Delete all names, email
addresses,
forwarding tags, etc. Just forward the content.
Jazz Producer, Historian Frank Driggs Dies at 81
Associated Press, September 21, 2011
NEW YORK -- Frank Driggs, a music historian and producer who amassed a
world-class
archive of more than 100,000 jazz-related images, has died. He was 81.
Friend and co-worker Donna Ranieri told the Associated Press that Driggs was
found
dead in his Manhattan home on Tuesday. She says he died of natural causes.
A 1952 Princeton University graduate, Driggs became enamored with jazz and
swing
while listening to late-night broadcasts in the 1930s. He later joined
Marshall Stearns,
founder of the Rutgers University-based Institute of Jazz Studies, and began
documenting
jazz history.
Driggs produced numerous recordings, including Columbia Records' "Robert
Johnson:
The Complete Recordings." He received a Grammy for it in 1991.
Driggs also co-published "Black Beauty, White Heat," a pictorial history of
classic
jazz culled from his vast collection.
--Bob Ringwald
www.ringwald.com
Fulton Street Jazz Band
530/ 642-9551 Office
916/ 806-9551 Cell
Amateur (Ham) Radio K6YBV
I hate all this terrorist business.
I used to love the days when you could look at an unattended bag on a train
or bus and think to yourself
"I'm going to take that."
------------------------------
Message: 6
Date: Fri, 23 Sep 2011 19:57:11 -0700
From: "Robert Ringwald" <rsr at ringwald.com>
To: "Bob & Carol Taber" <bobcarolt at comcast.net>, "DJML"
<dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Cyd Charisse with Stan Kenton Soundie
Message-ID: <BF5D1D3C980C42C8ACB437BED6AA7D1C at hplap>
Content-Type: text/plain; charset="iso-8859-1"
When forwarding any email, please use "Netiquette." Delete all names, email
addresses,
forwarding tags, etc. Just forward the content.
>From another email list:
This is a neat Soundie:
http://www.youtube.com/watch?v=p6FGsE3uBWs
--Bob Ringwald
www.ringwald.com
Fulton Street Jazz Band
530/ 642-9551 Office
916/ 806-9551 Cell
Amateur (Ham) Radio K6YBV
I hate all this terrorist business.
I used to love the days when you could look at an unattended bag on a train
or bus and think to yourself
"I'm going to take that."
------------------------------
Message: 7
Date: Fri, 23 Sep 2011 22:42:48 -0500
From: Snogpitch <snogpitch at prodigy.net>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Advanced cd sale!
Message-ID: <6ADB108A-162A-45C2-B4C2-F439A96F5798 at prodigy.net>
Content-Type: text/plain; charset=us-ascii
Is there a playlist or web URL for more info?
Snogpitch
ICQ: 4989342
http://home.fuse.net/snogpitch/
On Sep 22, 2011, at 10:05 AM, Richard Karner <> wrote:
>
>>
>> Coming soon, TJP 4.
>> Turk Murphy's San Francisco Jazz Band Live at Wilshire-Ebel Theatre in a
>> live concert.
>>
>>
>>
------------------------------
Message: 8
Date: Fri, 23 Sep 2011 21:09:48 -0700
From: david richoux <domitype at gmail.com>
To: DJML Jazz <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] R I P Phil Stiers
Message-ID:
<CAO_WAAW9Z+CBh2Z4B9qOh1Ke8=c6UQ8rPA7QjaC1PU2Eto2Nvg at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
I don't think anybody else has posted this yet, but I recently read on
Facebook that Phil Stiers, multi-saxaphonist and band leader passed on
Sept 13th.
He played in "And That's Jazz" with me for several years and he was
also very active in the Napa Valley Dixieland Jazz Society.
He lead the Gold Coast Jazz Band for many years (his wife Jan was
always on piano) - there are a few Youtubes of his band.if you search.
I have not seen any obits, but I am sure the NVDJS
http://www.jazzdance.org/NapaJazz will have some information soon.
Dave Richoux
------------------------------
Message: 9
Date: Fri, 23 Sep 2011 22:24:22 -0700
From: "Robert Ringwald" <rsr at ringwald.com>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] R.I.P. Dolores Reade Hope
Message-ID: <6455E95B9B7D42D18028AE9235D100E5 at hplap>
Content-Type: text/plain; charset="iso-8859-1"
When forwarding any email, please use "Netiquette." Delete all names, email
addresses,
forwarding tags, etc. Just forward the content.
Dolores Hope, Widow of Bob Hope, Dies at 102
by Valerie J. Nelson
Los Angeles Times, September 20, 2011
Dolores Hope, who throughout her 69-year marriage to comedian Bob Hope
oversaw their
charitable giving and played a key role in establishing the Eisenhower
Medical Center
in Rancho Mirage, has died. She was 102.
Hope died Monday at her Toluca Lake home of natural causes, publicist Harlan
Boll
said.
In the late 1960s, the Hopes donated 80 acres of land near their future Palm
Springs
estate for the medical center, which opened in 1971.
They became "the driving forces behind the creation and long-term growth" of
the
medical facility, the center said on its website.
She served as chairwoman of the center's board for years, and he raised
millions
for the center through the annual professional golf tournament that for
years bore
his name.
"It was Mrs. Hope's vision that started this institution and she has worked
for over
25 years to make it a reality," Albert C. Mour, then president of the
medical center,
wrote in The Times in 1990.
When her husband died in 2003 -- two months after turning 100 -- Dolores
declined
to estimate how many millions they had given or raised for charity. She did
say most
of it involved young people.
A great deal of their fortune came from vast property holdings in the San
Fernando
Valley. At Bob Hope's death, their wealth had been estimated at as much as
$500 million.
Their multimillion-dollar Palm Springs estate was built in 1979.
On her 100th birthday in 2009, she attended a party in the backyard of the
Toluca
Lake home that she and her husband bought in 1938. At the event, daughter
Linda Hope
theorized that laughter in the family home contributed to her parents' long
lives.
She was born Dolores DeFina on May 27, 1909, in New York City and grew up in
the
Bronx.
During the 1930s, she sang in nightclubs using the stage name of Dolores
Reade and
met Bob Hope when he caught a New York City show.
After a brief courtship, they married in 1934 and were soon sharing the
vaudeville
stage.
While Dolores raised their four children, her husband's career took off and
he was
often away.
"When we were celebrating our 50th anniversary, people would say, 'Fifty
years?'
And Bob would say, 'Yeah, but I've only been home three weeks,'" Dolores
said in
1995 in the Palm Springs Desert Sun.
To mark that half-century, she gave him a paperweight inscribed, "Don't
think these
three weeks haven't been fun."
Bob later said he enjoyed the stability of having a home to return to. He
recalled
how his children would listen to his jokes while Dolores, who was a devout
Catholic,
decided if they were appropriate for a family audience.
"I learned to temper my humor in those years," he said. "Dolores was a tough
critic."
During the same interview, Dolores said, "We always had quality instead of
quantity....
When he wasn't home, he'd call almost every day, except when he was in a
combat zone.
Even then, he'd try."
In the late 1940s, Dolores began performing in her husband's famed overseas
tours
to entertain U.S. troops and later sang on many of his NBC television
specials.
When Bob went to Saudi Arabia to entertain American troops in 1990, he was
forced
to leave many women out of the show. An exception was made for Dolores, who
was allowed
to sing "White Christmas" to the troops on Christmas Eve.
In addition to her daughter, Linda, she is survived by another daughter,
Nora Somers;
a son, Kelly; four grandchildren and a great-grandchild. Another son,
Anthony, died
in 2004.
Services will be private.
__________
Photo gallery:
http://www.latimes.com/news/obituaries/la-dolores-hope-obit-pictures,0,2934680.photogallery
--Bob Ringwald
www.ringwald.com
Fulton Street Jazz Band
530/ 642-9551 Office
916/ 806-9551 Cell
Amateur (Ham) Radio K6YBV
I hate all this terrorist business.
I used to love the days when you could look at an unattended bag on a train
or bus and think to yourself
"I'm going to take that."
------------------------------
Message: 10
Date: Sat, 24 Sep 2011 08:11:14 -0400
From: Donald Mopsick <dmopsick at gmail.com>
To: DJML <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Dave Bennett this week on Riverwalk Jazz
Message-ID:
<CAGTYusGreNj8RHJqs6yAvTzJzGEVmH4e2gfDLzVozi_BzduDPA at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
This week RWJ features the gifted young clarinetist Dave Bennett.
Under the guidance of the great Michigan-based bassist/arranger Paul
Keller, Dave presents an impressive symphony pops concert tribute to
Benny Goodman. This show plays worldwide to packed houses. Dave is
also a staple these days at trad festivals. If you haven't heard him
yet you're living in a cave.
Here's a video of Dave playing "I Got Rhythm" with the JCJB at the
Landing. U R There.
http://youtu.be/r76B9K4PFlM
Stream the show right now at http://riverwalkjazz.org.
Visit and 'like'our Facebook fan page.
http://www.facebook.com/riverwalkjazz. Leave comments there or here.
mopo
--
http://about.me/donmopsick
------------------------------
Message: 11
Date: Sat, 24 Sep 2011 11:11:44 -0400
From: "Roy (Bud) Taylor" <budtuba at gmail.com>
To: dwlit at cpcug.org
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>,
Laura Taylor <elleighty at yahoo.com>
Subject: Re: [Dixielandjazz] Another laughing record
Message-ID:
<CALNLC8i9t9HQs_DGDtnH86GV0P1aqEFaHo2DTDKoQaAELMhvpw at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
Laughing soundtracks work because the listener is trying to get the joke and
it triggers the laughing response. I think TV show developers realized this
a long time ago and situation comedies like Lucille Ball had laughing
coordinated with the punch line.
On the recent America's Got Talent show there was a comedian who made it
through all stages that the judges could decide on until it reached the
voting of public only step. This guys jokes were too intellectually
oriented for today's watchers who were predominately young teenagers, in my
opinion. The studio audience was not as astute as the judges either, so his
performance went flat. Meanwhile, the contestant whose talent was building
cascading rows of blocks, balls, and other paraphernalia got great leughs at
the end of each performance by throwng his hands up and hopping....acting
like a 4 year old delighted with a clown's balloon show. He went further
than the comedian in the show series. There was a fantastic magician from
Alaska who also got cut. Should you like to watch the final acts, here's a
link:
http://www.mjsbigblog.com/americas-got-talent-the-finale-3.htm
You may want to search around for Tony Bennett in his appearance on
America's Got Talent. In terms of the rules of the show and the target
audience, unfortunately he would have been toast as soon as the show reached
the audience voting only rounds.
We as musicians who have years of earning our keep by constantly practicing,
learning new tunes, trying to better our performance, etc. may be dismayed
at the America's Got Talent show, but the show plays into the realm of
popular demand more than what "deserves" to win. I have yet to see a good
instrumentally oriented band even enter the show. What predominates is
vocalists, dancing teams, stunt acts, magicians. Earlier this year the
American Idol show which has a similar format had a vocalist Casey Abrams
who accompanied himself on several instruments on different shows. His
upright bass playing was outstanding. I have never seen a player that
articulate on both playing bass and singing simultaneously. This
performance is available for viewing on YouTube
Of course, the premise of America's Got Talent was to award one million
dollars to the act that would best make it in Las Vegas. We know that
dixieland once was a hot ticket in Vegas, but probably couldn't draw a crowd
in a back alley bar there now. A fantastic band like Jim Cullum's would
fall the same fate as good old Tony Bennett....too old fogey stuff.
http://www.youtube.com/watch?v=THPUXLckM-s
--
Roy (Bud) Taylor
Smugtown Stompers Jazz Band
Rochester, New York
Traditional Jazz since 1958
"we ain't just whistling dixie!"
------------------------------
Message: 12
Date: Sat, 24 Sep 2011 09:02:03 -0700
From: Don Robertson <jdrobertson at att.net>
To: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] R I P Phil Stiers
Message-ID: <4E7DFEFB.3020209 at att.net>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Yes we certainly will miss Phil. There will be an informal remembrance
today, Saturday, when Gold Coast plays their regular gig at the Little
Switzerland roadhouse in Sonoma, CA from 1-4 PM.
Don Robertson
Napa, CA
On 9/23/2011 9:09 PM, david richoux wrote:
> I don't think anybody else has posted this yet, but I recently read on
> Facebook that Phil Stiers, multi-saxaphonist and band leader passed on
> Sept 13th.
> He played in "And That's Jazz" with me for several years and he was
> also very active in the Napa Valley Dixieland Jazz Society.
> He lead the Gold Coast Jazz Band for many years (his wife Jan was
> always on piano) - there are a few Youtubes of his band.if you search.
>
> I have not seen any obits, but I am sure the NVDJS
> http://www.jazzdance.org/NapaJazz will have some information soon.
>
> Dave Richoux
>
> _______________________________________________
> To unsubscribe or change your e-mail preferences for the Dixieland Jazz
> Mailing list, or to find the online archives, please visit:
>
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
>
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
>
------------------------------
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